Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1887-03-27
0TELL0 ANALYZED.
uALo cAMpAEINrs DESCRIPTION OF
TIE WORK.
The Force, Beauty, and Originality Of
the Aged Masters Latest opera
Ably Demonstrated.
MILAN correspondenco Of the TImes


rashness which causes men 10 rush in
where angels fear TO tread, burst into
print with undue haste in their eager
ness to void themselves OF their opin-
ions Of Verdi's "Otello." They conse-
Quently failed to enter into the spirit of
the score. / felt that il would be wise
not to follow their example, and have
therefore waited that 1 might give
you a more enlightened account
Of the work than would have been pos
sible Immediately after the first per-
Torrance. II is with all the keener
pleasure, therefore, that / am enabled
20 record the fact that all the great
critics who pronounced their verdict on
"Otello" after more than one per-
Torrance have agreed in proclaiming
the success of the bold evolution
achieved by Verdi in his latest work.
All are in accord in declaring it a master
piece from beginning to end.
Amongthese critics, and especially the
French division, which has not been
without pessimistic views, may be first
mentioned NJ. Reyer, the learned and
brilliant musical feuilletonist of the
Journai DIES DtjGts and composer OF
"Sigurd." The opinion advanced by
this gentleman, and cOncurred in by
other eminent writers, WAS especially
pleasing to me, because it confirmed
me in the belief that my first dispatch
TO the Times, filled as it Was
with enthusiasm, was fair esti-
mate of the work. II is now agree
able to he able to say that the success
Of "Otello" grew with every repeti-
ton. On the fourth night, when Yer
di was no longer in La Scala, an object
Of general admiration, the audience
that throngcd the house did not
abate its enthusiasm. Every night
storms of applause have greeted the
music, and the artists have been
overwhelmed with demonstrations of
delight. The fact is that the more
"Otello" is heard the greater and more
numerous are the beauties discerned in
the score.
The third act, which, az first hearing,
was not well comprehended by the
average hearer, has now come home to
all minds in its full dramatic power.
The music, as revealed on the first
night, at certain moments did not seem
20 me that Of Verdi. The familiar style
of the maestro is in "Otello radically
changed. 1t is undeniable that Verdi
hos had the Wagnerian system in his
mind yet he is not Wagnerian in the
strict sense of the word. The har-
mony, the melody, the instrumental
coloring, the equilibrium of band and
voices, as well as the science and feel
inc. are all his own. But without the
great and unquestionable influence of
the genius of Rayreuth on modern mu-
sical art the Italian master would hardly
have achieved such splendid results.
Verdi, through all the change OF
manner, has preserved his own genius
and temperament. He has had the rare
ability to keep his own originality and
rover while assimilating the new lyrical
code Of Wagner. Vcrdi's evolution
stands as the most luminous proof Of
his own creative spirit. He has gained
from his countrymen a new title to
gratitude for showing the growing gen
Grafton how it is possible i'll ltal y to
continue a genial school of art purely
Italian. lie has given new vista to
the ;hrongof rising operate composers.
Probably the first impression made
mon all is one of wonder in finding IN
on old man of seventy-three such tena-
city of productive art. He has, rs an
eminent critic says, grated a green
Italian bud on the body of Shakespeare.
The numbers which at first hearing
seemed wholly in opposition to the
artistic temper of Verdi were the kiss
duet" in the first act, the song OF the
willow" in the fourth, and the great
third fnGlc. Verdi, whose pathetic
work is typical, has written love duet
in which everything is tinged with So
briefly and whose melodies are of ideal
character while betraying a certain
connection with Wagnerian music.
Ibis Wagneriaa touch is still more no.
table in that passage of the duet which
begins with the words "Gia nella Note
, dcnsa." This reminds the nearer Of
The most poetic moments of "Lohen-
Grin" The same thing may be said Of
the words of Desdemona, Milo SUI
pe1bo guerrier, and of the phrase "Je
ne rammenti," accompanied, as it Is,
ly an angelic arpeggio, which arouses
an indefnable feeling of ecstasy.
This music of Verdi is admirable
10th in thought and form. With the
charm Of the mystic ecstacy there IS
present also the warm Verdian phrase
which trembles on the chords of the or
chestra. Here the great master has re-
vealed his untrammelled spirit with a
magic power that is all his own. And
now LET me present a short analysis OF
the score.
"Otello" has no symphony nor pre-
Jude of any kind. Immediately upon
the first chords of the orchestra the
curtain rises, and We are given a Won
deriully initiative and splendidly In
/ strumented sca-storm. As IN Gluck
"Iphioenia in Tauris," nature IS in
the throes of revolution. With this
orchestral picture are combined The
cries of the chorus which follow alltha
raging Of sky and sea. The ves3ei
bringing "Otello" to the Isle OF
r Cyprus is in peril. The words Of the
Chorus are impressiyely initiative
They rise amid the tempest with the
powerful sorority of BASES and barn
tones, mingled with piercing shrieks OF
dread from the sopranos and tenors
This number is well worthy OF him who
wrote the Dies ire in the well-known
rcQuica3 mass. With suppliant voices
amid the cesseless lightning and than
der, the chorus pray TO the God of tn.
t, mpest, the music developing al
abundance of melodic imagery with thu
aid of the orchestra's full power. The
rccitative of Otello is Of grand pro
portions. Tie phrase is broad an.
there is cadenza ON high notes which
REQUIRES such vocal resources as Tamag
70 possesses.
Presently the tempest abates and th'
! orchestra depicts the change, repeatlnIi
the first phrases and continuing IN tn'
BASES the organ point with which tn
composer represents wonderfully tn
roar of the ocean. General mirth iol
lows. Fires signifying rejoicing ar
lighted, and the scene brilns with 10
and festivity. The music flows WIT
ELEGANCE and spirit as the chorus sing
oronnd the fire. The description Is r.
,,orNblv vivid. One almost hears Tn